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Marilyn
Levine
Thom's Jacket - 1989
ceramic
34.75 x 23 x 5 inches (88.26 x 58.42 x 12.7 cm)
Marilyn Levine The sculpture of Marilyn Levine is concerned with conflict: Conflict between visual and tactile, between reality and unreality, between presentation and representation. The material illusion confronts our assumptions and makes us question our perceptions.
It asks us to examine a thing beyond it's perceived usefulness as an object and then invites us to look deeper at the purely sensual aspects of that thing; form, surface, texture, presence. It knocks us off balance and then replaces our footing with a wholly new ground. Marilyn Levine
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Darryl
DelVecchio
Untitled - 2002
mixed media on fabric
37 x 42 inches (93.98 x 106.68 cm)
Darryl DelVecchio I am hoping that people can see the potential for a narrative in these works. Much the same way I would like for people to see that the work contains allusions to a presence; although the presence is non-specific. Recognizing the inherent memory of certain objects and viewing them as something detached or forgotten brings forth the potential for a memory-presence. The imprint of this can be achieved through the distilling of the object. In other words, I distill a building's implications down to a symbol representing a building but not describing one (relegating the descriptive down to the status of the signifier). The drawn lines are meant not to simplify or break down but to start from nothing and build up. In the process they signify the memory of the original object in the mind of the spectator. The viewer is thus doing the distorting and abstracting, not me. My forms, shapes, and symbols communicate nothing. They exist outside the social norm of aesthetic recognizability; and are in fact a parody of it. To designate something as art is to fervently deny, with great effort, the natural beauty that forms already possess. Darryl DelVecchio, 2002
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Robert Anderson
Western
Adventures - 2000
oil on canvas
45 x 70 in.
Robert Anderson PULP WESTERN Robert Anderson's eye catching new series of paintings, draws inspiration from the classic pulp fiction images that infiltrated post-war culture and captured the gasoline and testosterone fueled imagination of the American male. The word "pulp" comes from the low-grade paper used for trashy magazines that specialized in lurid stories loaded with sex and danger. With their saturated colors and dark-side-of-life imagery, the covers grabbed the reader by the throat and groin, fueling forbidden fantasies of adventure and seduction. A whole new breed of artist / illustrator emerged. These artists created an incredible world of cover art that still has the power to stir our impulses. Ultra sexy femme fatales - either in trouble or looking for it - embraced the threat of violence, which loomed around every shadowy corner. Pulp Art telegraphed its message: life is an adventure, where hard drinking, gun-toting fellas take what they want, and pretty gals - with looks that can seduce or kill - like it that way.
More than just a homage, Anderson playfully recreates the world of pulp Americana. In the classic pin-up style, his big, smiling, busty cowgirls tease and strut in front of their tough guy counterparts in a sexual dance that will no doubt lead to trouble in the night ahead. Each painting is a fusion of iconoclastic memory traces and frontier imagery blended with a new millennium jab. Unrestricted in approach, Anderson places some "real" cowgirls among his comic and pulp babes, as a further celebration of the female figure. Pulp Art is about romance, sex and danger, and mostly, breaking the rules. Using the Wild West as his backdrop, Anderson has created a unique eye grabbing collection of startling images that breathtakingly seduce and excite. So saddle up, make sure your gal's lips are blood red and her heels are sharp and high, and enter Robert Anderson's world of the Pulp Western. Robert Anderson, 2002
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